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Evan Jones’s The Damned (1961), Eve (1962), King and Country (1964) and Modesty Blaise (1966)
Colin Gardner

diarrhoea). More ominously, in Modesty Blaise both the government and its corollary, international terrorism, exploit difference itself as a form of controlling duplicity, epitomized by the film’s limitless variations on metamorphosis and the ever-shifting economy of both economic and identity exchange. For Jones, this dystopic malevolence is spread by corrupt public servants and maverick bureaucrats who hide secrets from their

in Joseph Losey
Affaires publiques, Les Anges du péché and Les Dames du Bois de Boulogne
Keith Reader

the painterly and the cinematographic might be described as that between images which have a ‘value in themselves’ and those which have ‘only exchange value’, so that Les Anges du péché’s specifically cinematographic qualities through which it avoids sanctimoniousness and accedes to an ‘exchange value’, of images and souls alike, may be better sought in its drawing on two sets of genre conventions – those of on the one

in Robert Bresson
London River and Des hommes et des dieux
Gemma King

search for their respective children, missing in the wake of the 2005 London terrorist attacks. At the outset, Elisabeth treats Ousmane with distrust, despite the growing evidence that their children had been in a romantic relationship. However, as the film progresses, Elisabeth is forced to confront her own prejudices, as she unites with Ousmane in a shared search. As a result, the two experience a moving cultural exchange, which leads Elisabeth to note laughingly in French, ‘nos vies ne sont pas trop différentes’ (‘our lives are not so different’). London River is

in Decentring France
A reply from Saturday Night to Mr. Dienstag
Tracy B. Strong

acquiescence to George and his conventional standards into a critique of George and a reminder to Tracy that she is, one might say, facing the wrong way, that she is not behaving according to her nature (a nature about which she has needed to be educated, and not one to which she can be recalled). Or, again during the exchange with George about Tracy’s behavior the previous night with

in Cinema, democracy and perfectionism
Pedro Almodóvar’s transnational imaginary
Carla Marcantonio

transvestite character thus goes beyond deconstructing gender distinctions; it also underscores the complex process of appropriation and reinscription that characterises global/local cultural exchanges. This process of exchange is dramatised through the hyperbolic chain of impersonations that take place in the narrative of this film. Kinder describes the moment when Letal appears on screen thus

in Contemporary Spanish cinema and genre
Abstract only
Brian McFarlane

Rachmaninoff was playing. And there is an echo in the brief exchange between Harry and Maura when he returns to Germany. ‘Thank you,’ Maura says. ‘For what?’ he asks. ‘For being here, for making me happy’ – recalling Laura and Alec’s ‘Forgive me’, ‘Forgive me for what?’ ‘For meeting you in the first place … ’ and so on. A last and no doubt trivial connection: Irene Handl, the cinema pianist in Brief Encounter , here plays a gossiping neighbour who recalls Everley Gregg’s Dolly Messiter in the earlier film. Whereas the situation in Brief Encounter may have anticipated the

in The never-ending Brief Encounter
Chris Beasley and Heather Brook

American values, but also challenge and satirise them. Examples here range from overtly political films like Missing (1982) and Wag the Dog (1997) to dark comedies like Election (1999) and American Beauty (1999), or even animated ‘family’ films like Lilo & Stitch (2002), which offers a sympathetic representation of a ‘single-mother’ family. Defenders of global Hollywood regularly point out that exchanges between Hollywood and national cinemas have been long-standing, productive, and two-way. They note that many of the key architects of the Hollywood film industry were

in The cultural politics of contemporary Hollywood film
Abstract only
Sam Rohdie

Vertigo215 by the close-up and dependent on it. The exchanges of the close-ups, of looking and looked upon, are dilated, slowed down, intensified. This change of tempo is also a break and disruption of pattern as if something is occurring that goes beyond appearance and description and yet is kept within believable bounds. Furthermore the image of Madeleine is not an objective description but a subjective one: not only is Madeleine overly posed and overly still but there seems to be a veil of peculiar light before her as if the image is unreal. The images presented are

in Film modernism
Carmen Ciller

important actors of Spanish cinema and theatre received their education. Enrique Diosdado studied there as well, long before his daughter Ana Diosdado became one of the most important playwrights and actresses in Spain during the 1980s, with successful works such as Anillos de oro/​Golden Rings (1983) and Segunda enseñanza/​High School (1986). The exchange of professionals of the film industry between Argentina and Spain has left some interesting testimonies that highlight the differences in approaches both to acting and directing actors in both countries. For instance

in Performance and Spanish film
Abstract only
Expendable Expendable?
Natasha Parcei

youthful superiority as Ross’s counter, mirroring their introductory exchange by noting, ‘You know you’re not as fast as you think,’ to which Ross concedes, ‘I’m beginning to sense that.’ In addition to the scene’s dialogue the decline narrative is underscored by the presentation of Ross’s battle worn body against Christmas, who remains unscathed. This presents the difficulty that

in Crank it up